Six of the greatest song transitions in rock
Posted On: 7/12/13
Written By: Nate Brunet
*Click images below to view larger versions.
Now that the wonderful, controlled chaos of the Fourth of July is over, it’s time for us to sit back and relax a bit after the crazy start to the summer we’ve had. After the huge events of both the Dew Tour and the Fourth of July, we’re now transitioning into the normal summer routine. While we won’t have any huge events until a couple of weeks now, there are still plenty of exciting happenings around town such as the OC Tuna Tournament and Greek Festival both occurring this weekend. On the subject of transitions, I’d like to share six of my favorite transitions between songs as they appear on their respective studio album:
“Beast and the Harlot”/“Burn It Down”
By: Avenged Sevenfold
Off the album: City of Evil (2005)
Although it’s a rarity, I love it when metal gets on this list. This album was a big turning point for Avenged Sevenfold, as lead singer M. Shadows dropped the screaming vocals heard prominently on the band’s first two albums and focused on singing in a higher pitch. The change can be heard immediately, as “Beast and the Harlot” is the first track on the album. Also the main radio single of the album, many have heard the song’s pulsing drum beats and loud and “in your face” guitar riffs prevalent in the song come to a soft close at the end. But the metal doesn’t stop here. When the song ends on the album, a guitar slide is heard that is almost immediately joined by a barrage of guitars and drums; which begins another upbeat headbanger, “Burn It Down.”
By: Avenged Sevenfold
Off the album: City of Evil (2005)
Although it’s a rarity, I love it when metal gets on this list. This album was a big turning point for Avenged Sevenfold, as lead singer M. Shadows dropped the screaming vocals heard prominently on the band’s first two albums and focused on singing in a higher pitch. The change can be heard immediately, as “Beast and the Harlot” is the first track on the album. Also the main radio single of the album, many have heard the song’s pulsing drum beats and loud and “in your face” guitar riffs prevalent in the song come to a soft close at the end. But the metal doesn’t stop here. When the song ends on the album, a guitar slide is heard that is almost immediately joined by a barrage of guitars and drums; which begins another upbeat headbanger, “Burn It Down.”
“The End.”/“Dead!”
By: My Chemical Romance
Off the album: The Black Parade (2006)
Believe me, it kills me to reveal to the world that I not only like My Chemical Romance, but that I do solely because The Black Parade is simply one of the most entertaining albums I have ever listened to. A concept album about a man’s looking back onto his life after his death, there are several nods to classic rock bands such as Pink Floyd, Queen and David Bowie. At the end of the opening song, “The End” (which coincidentally sounds a lot like “In the Flesh,” the opening track of Pink Floyd’s The Wall…), a flatline is heard, which extends into the second track, “Dead!” The first song, since it’s about the main character facing his inevitable death, is very dramatic and slow, but the immediate start, fast pace and joyous sound of the second song is one of the most polarized transitions I’ve ever heard.
By: My Chemical Romance
Off the album: The Black Parade (2006)
Believe me, it kills me to reveal to the world that I not only like My Chemical Romance, but that I do solely because The Black Parade is simply one of the most entertaining albums I have ever listened to. A concept album about a man’s looking back onto his life after his death, there are several nods to classic rock bands such as Pink Floyd, Queen and David Bowie. At the end of the opening song, “The End” (which coincidentally sounds a lot like “In the Flesh,” the opening track of Pink Floyd’s The Wall…), a flatline is heard, which extends into the second track, “Dead!” The first song, since it’s about the main character facing his inevitable death, is very dramatic and slow, but the immediate start, fast pace and joyous sound of the second song is one of the most polarized transitions I’ve ever heard.
“We Will Rock You”/“We Are the Champions”
By: Queen (duh)
Off the album: News of the World (1977)
Alright, now we’re getting into the classics. Although many 20-somethings like myself feel like quacking once hearing these two songs together, those of older generations have heard these two songs connected for decades. What’s interesting about these songs is that they don’t truly transition into each other like how the Avenged Sevenfold songs blend into each other or how My Chemical Romance immediately starts up a new song. Still, it’s borderline illegal to play one song without the other and we have both Brian May and Freddie Mercury to thank for two of the greatest arena rock songs of all time.
By: Queen (duh)
Off the album: News of the World (1977)
Alright, now we’re getting into the classics. Although many 20-somethings like myself feel like quacking once hearing these two songs together, those of older generations have heard these two songs connected for decades. What’s interesting about these songs is that they don’t truly transition into each other like how the Avenged Sevenfold songs blend into each other or how My Chemical Romance immediately starts up a new song. Still, it’s borderline illegal to play one song without the other and we have both Brian May and Freddie Mercury to thank for two of the greatest arena rock songs of all time.
“Heartbreaker”/“Living Loving Maid”
By: Led Zeppelin
Off the album: Led Zeppelin II (1969)
Now digging into the blues, the transition of these two songs is similar to the My Chemical Romance Songs. “Heartbreaker” begins with a slow, bluesy beat that is essentially held the entire song, save for Jimmy Page’s rocking improvised (yes, I said improvised!) solo during most of the second half of the song. For a moment after the solo, the song returns to the slow tempo, but then the guys said “wait a minute, we’re Led freaking Zeppelin, let’s rock the hell out!” After only a single beat from the end of “Heartbreaker,” the much louder and faster “Living Loving Maid” kicks in. Like the Queen example above, a likely punishment for playing these songs separately from one another could be that you don’t deserve to listen to music ever again.
“Brain Damage”/“Eclipse”
By: Pink Floyd
Off the album: The Dark Side of the Moon (1973)
Off the greatest album of all time (yeah, I said it), this pair of songs is also one of my favorite endings to an album. Based on the mental illness issues of former band mate Syd Barrett, “Brain Damage” is a quiet, but emotional, song. Aside from an inspiring choir that appears at times, it sounds like the song is going to end on a depressing note (especially while hearing a guy laugh maniacally), but a few bass drum hits leads the band into transitioning to a beautiful…umm…eclipse of sound to end the album with an uplifting barrage of vocals, keyboards, guitars and drums.
By: Led Zeppelin
Off the album: Led Zeppelin II (1969)
Now digging into the blues, the transition of these two songs is similar to the My Chemical Romance Songs. “Heartbreaker” begins with a slow, bluesy beat that is essentially held the entire song, save for Jimmy Page’s rocking improvised (yes, I said improvised!) solo during most of the second half of the song. For a moment after the solo, the song returns to the slow tempo, but then the guys said “wait a minute, we’re Led freaking Zeppelin, let’s rock the hell out!” After only a single beat from the end of “Heartbreaker,” the much louder and faster “Living Loving Maid” kicks in. Like the Queen example above, a likely punishment for playing these songs separately from one another could be that you don’t deserve to listen to music ever again.
“Brain Damage”/“Eclipse”
By: Pink Floyd
Off the album: The Dark Side of the Moon (1973)
Off the greatest album of all time (yeah, I said it), this pair of songs is also one of my favorite endings to an album. Based on the mental illness issues of former band mate Syd Barrett, “Brain Damage” is a quiet, but emotional, song. Aside from an inspiring choir that appears at times, it sounds like the song is going to end on a depressing note (especially while hearing a guy laugh maniacally), but a few bass drum hits leads the band into transitioning to a beautiful…umm…eclipse of sound to end the album with an uplifting barrage of vocals, keyboards, guitars and drums.
"The Medley"
By: The Beatles
Off the album: Abbey Road (1969)
Ha! You think I made a grammatical error by not putting quotes around The Medly! In fact, I’m kind of cheating here because The Medley is actually a group of eight songs featured at the end of the album, and they all transition into each other beautifully. The grouping of “You Never Give Me Your Money,” “Sun King,” “Mean Mr. Mustard,” “Polythene Pam,” “She Came In Through the Bathroom Window,” “Golden Slumbers,” “Carry That Weight,” and “The End” is 16 minutes of some of the best songwriting you will ever hear. Songs not only transition perfectly even if they don’t flow into each other, but several themes are repeated as well, making The Medley a beautiful and complete symphony on its own.
By: The Beatles
Off the album: Abbey Road (1969)
Ha! You think I made a grammatical error by not putting quotes around The Medly! In fact, I’m kind of cheating here because The Medley is actually a group of eight songs featured at the end of the album, and they all transition into each other beautifully. The grouping of “You Never Give Me Your Money,” “Sun King,” “Mean Mr. Mustard,” “Polythene Pam,” “She Came In Through the Bathroom Window,” “Golden Slumbers,” “Carry That Weight,” and “The End” is 16 minutes of some of the best songwriting you will ever hear. Songs not only transition perfectly even if they don’t flow into each other, but several themes are repeated as well, making The Medley a beautiful and complete symphony on its own.